Over the Moon with Soft Pastels | Benjamin A | Skillshare

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Over the Moon with Soft Pastels

teacher avatar Benjamin A, Art Classes by Benjamin

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (50m)
    • 1. Introduction

    • 2. Supplies needed

    • 3. Coloring the base layers of the moon

    • 4. Coloring the moon craters

    • 5. Coloring the outer-space base layers

    • 6. Smoothing outer-space

    • 7. Coloring the outer space edges

    • 8. Adding subtle color effects

    • 9. Adding stars and the finishing touches

    • 10. The Class Project

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About This Class

Over the Moon with Soft Pastels


In this Art Class I will take you step-by-step through the entire process of how to build up this outer-space scenery.

Once you discover these easy-to-use techniques, you’ll be surprised how much fun it is to work with Soft Pastels and to be able to create all these lovely effects.

We’ll be looking at how to do the moon, how to go about the different layers, how to get beautiful transitions and how to blend the colors. Of course we’ll be topping it off with some interesting effects.

Whether you’re brand new to Soft Pastels or are experienced already, there surely will be something for you to take away from this Art Class. So let’s go over the Moon together with Soft Pastels or Pastel Pencils!

Meet Your Teacher

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Benjamin A

Art Classes by Benjamin


My name is Benjamin Aeilkema (Art by Benjamin) and I’m an illustrator, artist and art teacher from The Netherlands.

I love creating artworks with traditional media and with digital media as well. My favorites are ink, fineliners, watercolor and watercolor pencils, but I am in no way limited to those.

My favorite themes are houses, landscapes and animals, but I like other themes like fantasy and sci-fi and many others as well.

My artworks are often fun, sometimes serious or with a deeper meaning. My love for God is often also expressed in and through art.

For many years I’ve enjoyed creating art, learning many skills and techniques along the way. I often have a personal way of applying these techniques to my artworks.

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1. Introduction: Hey, welcome to this art class. What are we going to do in this art class now you probably figured it out already by the title and what you see laying around two, we're gonna work with soft pastels and can either be soft pastels like this or like this. If you have a box or ten like this with soft pastels, that works fine to work fine. But you may have never worked with soft pastels before. You just bought a set and you just don't know where to start. You may have just wanna get going a little bit with them. And this is a great class for you, even if you're experienced and probably this is still a fun class to go through. You don't need to know how to draw. Even if you have no experience though, you can come along. I showed you some tricks how to get a nice round moon like this. Pretty much 30, simple once you know the trick. And I'm gonna take you step-by-step through this scene, how to build up how to do the moon, how to get these lays, how to get these transitions, how to blend these colors, how to get a little bit of a effect in it. Some colors and things like that. And I'm just going to show all of that in this art class. So if you have some soft pastels, you have mixed media papers, pastel paper, then you can just come along with or without experience. You're welcome to join me. And in the next video, I'm going to discuss the materials we need for this class. And I see you there. 2. Supplies needed: Welcome to the video. Before we actually make this scene, we need some materials, obviously. Now progress. You see I'm going to use Rembrandt's soft pastels, but we have a different brand is fine. You can use, as I said in the video, you can also use soft pastel pencils like this. They were pretty much the same, so that should not be a problem. I'm gonna use them a little bit for the star and a little bit for an effect. But I'm gonna mainly use soft pastels. But if you have soft pastels, pencils only then just come along. So that's what you need, some soft pastels, oil pastels. I'm not sure if the techniques, since I don't have oil pastels, I can't vouch for that. But hey, if anyone is brave enough to start try this with oil pastels and let me know. Great. Okay? So the brand, our reason if you have no grand, that's okay. You don't need huge selection of colors here. I'm just going to use a grey or black and white, a few blues Turkish one's a green and a red and an underwriter think I'm gonna use yes, an amber color to a natural amber color. And that's just a few colors, not this whole range. So forget about that. Just a few columns. So if you have a small set for a few of them, that should work fine too. And even if you don't have the same colors as I do, then just change them a little bit unit, of course, some paper. Now you could use various papers that work with pastel wouldn't use regular paper. What I'm going to use here is a mixed media paper and that is, this one is the Tonu Kalam mix by tollens erm they have another one that is called the Rembrandt toned. That is, I think pretty much the same as this. But if you don't have a mixed media paper, and like this, of course, then what would work great too is something like this. This one here, also a mixed media paper. And that is Claire from tens are grain and that is a bit more grainy. Nella works too, and I'll show you that. Can you get more of an effect like this here were you see a Kansas effect through it as opposed to the really smooth effect here, but that will still work. And another paper that you can use is this paper that is also multimedia. Papers submits, there's some personnel on it. Smoother paper that would work too. And of course, what you could use is real pastel paper, something like this, made for pastel. Pastel paper does is by Rembrandt. Chloroform ten pastel math would use, yeah, could, sorry, cuz now pastel mud works too, but you may have to put a little bit more effort into the blending is something like this. Blends a bit easier because it is smooth. Alright? Yeah, basically any pastel paper would do or some mixed media paper. And I don't think I would use watercolor paper, something like that or regular paper. That's a great thing. And we put this side's harrison, I'll go back to this one. The other thing you would need is at the end, I'm going to use pastel pencils. Or if you use pastel pencils, then you're fine. If you use the pastel like these, more Korean likes, then I'm using a pastel pencil. Don't, if you don't have a pastel pencil, why charcoal will use the mood year due to, they call it white charcoal, but it's really chalk. Or another thing would work is something like this. Tosca whites chorionic pendant is more or even a fine of white fine line or a gel pen that will work fine. So for the finishing touch to start, we're gonna do with that. Another thing you will need is some paper, either cloth or some kitchen towel like this. And you're gonna need a bowl like this. This is simple and we're gonna use that to trace the moons or we get a nice perfect Moon. And that's it. Once you've cut your materials and say, move to the next video, we're going to start working on this lovely scene. 3. Coloring the base layers of the moon: Well, I've got all my materials ready while you don't see most of them the row enrich. And since I've got these materials, I want to start now. So what I'm gonna do, I'm gonna start with this soup bowl and turn it upside down. And this is what I'm going to use for my moon. And I don't want my moon in the middle. I want my mood a little bit outside of the few, Just a little bit, but completely in the middle, but also not totally up there. But let's say around here, it doesn't really matter completely well aware. And the next thing we're gonna do, I'm just going to trace this. And for that, you could use a light grey and then you use the sharp side, or you could use a pencil for that. Don't use a regular pencil, but of course a pastel pencil because regular pencil you can't get away anymore. So I'm going to trace my Moon. And so that I have a rough idea where I'm going. And that's it. That's going to be my moon. Draw that in a little bit. Okay, and I'm gonna put the pencil aside and we're gonna get a light gray. So another really dark, dark gray. I'm using two Rembrandt's. It's green gray. And it's not a very strong, strong Rae. And what I'm gonna do, I'm just going to fill in this moon completely. Like here, a bit of a mess. What you could use this your brush, carefully, brush it away. You could blow too, of course, but blowing things away in a video sounds horrible for you. Alright, I'm just going to draw them. And what you don't with the pastel. And the nice thing is you just don't need to draw in the whole thing, but just part of it. And as you can see, I'm following you bit rounded contour of this object. And I'm doing this quite lightly, so don't press hard. Press really hard with this is going to be very tough to smart sheet later on and to blend it. But it's also going to fill up your layers really quickly so that you can't go over with a different colour. Alright. And just a bit like that. And that's the base for our moon. So I'm using a light green. If you don't have a green greatest use a gray. Light gray, not the strongest gray. Going to use as little as possible, but still get the maximum effect of it. And there you go. Now, next fingers, just kinda take my finger and make sure your fingers are clean, your washed your things before that, all oil and substances and third is gone. And I'm just gonna blend this like that. You may want to put up your sleeve for this so that you sleep won't go in. What you're working in. And and again, I'm following at first a little bit of the contour and starting lightly. So not pressing really hard, but likely this will be my first layer. And in a minute I'm going to press a little bit harder and making around with motion for this. Now I'm going to press a little bit harder because I want these lines to be gone as much as possible. Now depending on the paper you're using, this may take a little while or this will go really, really quickly. Alright, and that's my first layer. Now, there's some lines left, but don't worry, they're going to be gone. In a minute. Another minute, few minutes. Alright, that's my first layer of my moon. I think I've blended this pretty much enough. And now this paper towel comes in handy, is going to clean my hand like that. You could use a web tower, but now all the axis is gone and we're gonna just you do this. Again. Pretty much the same with the same light grayish color. I'm gonna do another layer and that will be my first two layers. And now the colors should blend in a little bit more nicely. And again, keeping this lightly. All right. Putting my fingers sides and now she can see you're going to get a nice blend and all these lines that were there, which is basically covering them with the pastel to get that nice effect. All right, so I don't want it to be dark, dark. So I'm going to use this as my base of my moon. And she can see that looks pretty nice already and it's okay if the site is a bit smudge too. Just a little bit. There you go. Alright. Let's if step one, my moon, it looks nice, doesn't it? Okay. Step one, just doing the base layer of the moon. And later on we're going to do all the other colors and we're gonna do the same way. Okay, well, let's, if I say, go ahead and do the first layers on til you get this nice smooth. You may need a couple of layers depending on the paper. Maybe you have one layer is enough. Maybe you need to free slaves to get this nice smooth effect. Alright, that's it. That's step one. The base layer. 4. Coloring the moon craters: Oh, comeback and clean my finger right as much as I can get off. And I'm going to go work some more on this. So this is my base layer now, depending on your college, if you have a darker gray, use a darker gray. If you don't have darker gray, you could use a black or something which comes close to a gray. And I'm, what I'm gonna do next is you could do this with a gray or I'm going to use a number natural that looks a bit like Grandma I'm gonna do. I'm gonna put it in the dark parts of the moon if I take this drawing with it, a bit like this. So the dark parts of the moon, I'm gonna put it in and you can use the photo references for that or anything. And with this Amber, What was the name again? Umber natural. I'm going to bring in those paths or put up my sleeves again, making sure I'm as and I'm going to just do that quite roughly. And I'm just to make sure I have these dark parts and this is not accurate science, what I gotta do, the moon, totally accurate. We are going to just give an impression of the moon. And around there I want some two, okay? And I got these parts. And the next thing is going to blend this in a little bit too, if my finger. And now I've got some of these parts. And I got some much carefully brush that off. You could, as I said, blow it off too. That works actually better, but horrible sounds for a video, so I'm not gonna do that. Alright. And that's, that's, so now I got the place where I roughly wants these colors and we're gonna go with the black. Now if the Black gonna do this very carefully, you could use a darker gray for it, but my set that doesn't have the darker gray. So I'm going to show you how to do it with a black and how to use it carefully. And what I'm gonna do is I'm going to just do the top line a little bit and just a few lines there. And around this edge should a little bit and there. And here, and some here. And that's it. And I'm going to blend this coloring since the black is pretty strong. I'm going to count on that black being really strong and I'm gonna blend it in. And as you can see, that gives that nice smooth collar. And I'm gonna do the same here, and we're going to leave that bit here. Bit here. Gotta go up a little bit here, pushing that stuff, they're the same two. And when you do your black, you need to make sure you just do it very. So when you draw it on, do it really lightly. And there you go. Now, now this is a bit too strong. So I'm going to keep on blending with this. So now you may have a huge range of cause then I would use a lighter gray, not black, but a bit of a lighter gray. But I'm just going to show you how you can do this with minimum amount of colours. And there you go. So now we have the rough parts of the moon already. That looks pretty nice, perhaps slightly too dark. So what we're gonna do, we're gonna take that gray. We started out again and just mix that in a little bit as we did with the black too. And I'm still got that color on my finger. I didn't clean it, but I want this color to mix in. And as you can see that it makes a bit of a lighter tone. I'm not gonna do that around the edge and we're gonna leave that nice and dark here too. So that we get a little bit of a shape and form. And pressing a bit harder here because there's some lines, I don't want a bit more work. There you go. Alright. And that will be the second phase. The darker parts of the moon are in now and now. We're going to need to lighten them a little bit. So I'll come clean my finger. And I will take my white, can take a regular whites. And what I'm gonna do is, I want a little bit on this top. This, i want a little bit lighter very carefully. And in-between a little bit there too. And at the bottom, I want to get a little bit of a light colour in it and I clean my fingers. So now I'm going to blend that in a little bit too. And as you can see, you get a nice lighter fit of lighter effect there too. And now you get with just freak, freak four colors. You can't quite some tones already. And I think I'm done with this. Might go, let's see here a little bit and around one bit more stronger ends in the middle to I wanted to be slightly lighter. And that's it. Now you get some nice towns. And that's it. We'll leave it like that. Alright, clean my finger and that's it for now. We'll leave the moon as is. Like, that's what we're going to work on. The rest. 5. Coloring the outer-space base layers: Okay, that's it. We're going to leave the moon, as is. We could show my finger is clean. And what I wanna do next, we're gonna work on the rest up for that, we're going to use a few colors. And depending on your sets, I'm not sure what sets you have. You need a really light blue. And let me see, this is called a, I'm going to call out the 1s, but you might not have an ultramarine, ultramarine, ultramarine light. Then the next one I'm going to use is a Turkish blue. And I need a regular blue two, of course. This will be my regular blue. That is this one. Not, not discuss a blue took two, I want to have a regular blue. This is going to be a blue-green. And let's see, I need some darker colors to are going to work towards the scholar. And this color is a very dark Prussian blue, very dark one. And I need a bit of an in-between color. We are going for this one and ultramarine light too. So that's the colors I'm going to use for this. And we're going to start with the lightest color. And we'll make sure my papers clean of it. That is that ultramarine light is a very light light color and the lightest blue you can just find. And what I'm gonna do is with this one, I'm going to go around in circles here. And I'm not gonna, I'm gonna stay away a little bit from the moon on purpose. So I'm leaving a gap and that's going to be my whites. And I'm gonna make use of the paper to get that halo around the moon. And as you can see, I'm just following the contour of the moon a little bit, make it a little bit wider. And that's the first one. And we're going to blend some colors obviously. And this way we are going to blend a lot of colors and desk just few colors. That will be my first one. The next one I'm going to use is that Turkish blue, but it's, it's a light, very bright color. And I'm gonna just do layer around it. And again, I'm not pressing hard, I'm just doing this lightly on the top there on this way. And that should give a nice effect. And I'm putting that one away and the next color, I'm going to use this blue green. And that you could use a bit of a midtone blue for this one. That would work fine too. And around the hair a little bit to the edge here. Doesn't look like much, but when we're gonna smudge it again, it will look pretty good. Alright, and then I'm gonna go to this bit. Different colour that is ultramarine light but a darker tint as you can see, there are different from this one. And I'm going around like that. Alright, and that will be the base layer and you just need to remember the order you used it in. And then the next color I'm going to use is that very dark color. But I'm gonna leave a gap in-between that a little bit. Less will be quite a dark color. And I'm gonna follow around. And like they're now down here, we're going to use some different colors too. But for now, we're just going to color it in right there too. Nice and around the bottom a little bit good. That's it. May do just a little bit up there. Bit of debt. Okay, let's much this first. And starting at the light color. And I'm going to turn around and move that bit towards the Moon, but not completely touching it. And I'm just slowly, surely blending in that second color. And the skip on blending until it gets a nice smooth blends, flux, flux, nice. Not wanna touch that cholera yet. And I'm gonna go in with the third column. And I'm blending that towards the other colors so that you get a nice transition here to oh, my paper where I can move away. And I'm going to go for the next color. Blending that into which you can see I'm following the contour little bit, but I'm also just going in a blending, really those colors. And now I'm going to go up there, my finger, they're mixing the dark color to get carefully the edge that you don't cut yourself there. I don't have to go all the way through the ad. She could live just a little bit of an animal and go for that last column. The dark color, smudge step and move that to this other color. And I'm definitely going to need another layer to get rid of and to get a nice smooth blend. But for this, starting to look nice already, right? I got to move over a little bit to the side. That says my fingers are getting nice and warm. And let me blends now I'm gonna go with my finger that is 30 with this dark stuff. I'm just going to move all around and lends this in just a little bit more. And even around the edge here, go around Darralyn, which, Alright. Alright, good. Now, depending on your paper, you always look. Yours may look like this, or yours may already be pretty nice, blended and smooth. And that's then the consideration you have to make whether you do another layer or not. I'm definitely going to go for another layer, especially around here. I need another layer. Let me blend this a bit better. And they go as tough work. But there we go. Alright, good. And I need another layer for this. Stop now. This is not blending. More hair probably. Alright. I'm leaving that like this for now. And I'm going to do in the next video, we shall, my finger is clean. This a bit more and a bit better. Okay? Alright. Okay, that's it for this layer. Okay, in the next video, we're gonna smooth it all out. So this is our first layer and now we're going to just blend then these colors again, but do it a bit nicer. 6. Smoothing outer-space: All right, welcome back to the next video. We're gonna do a blended bit better than this. Now this is pretty good. But what we're gonna do with news that light color. And I'm carefully kinda put a layer and the layer I'm gonna put on now as you can see right away. And putting it a bit flat, that blends in a lot better already from the start and the first layer, ok. Then I'm going to go for the second color, the dynasty ultimately in the very light, but this is the Turkish blue, some middle tone. We're going to add that to it so that I can get rid of my paper color as much as I can. And get some nice blends the Hecker. And I'm gonna go with the other one, that bluish green that goes right there. And I'm basically doing the same again, since I want a nice AB length and I'm taking that ultramarine alight, but small going to or just the purple. And I'm blending that right on this edge two and a bit more in there. Alright, good. And the last one, taking that very dark color, putting it as flat as possible. So you can see, do the bit closer to each other, not as rough as the first layer. Shorter strokes. Kinda move it, turned around a little bit slow and I get my edge. But shorter strokes, putting down some more of their car and go right there too. That will make the blending a bit smoother and nicer looking. Oh, I forgot that. It probably okay. Get more of this code. Somewhere of this color around that edge. Good. Let me do that light. In between a little bit more. Alright, so I got my colors down. I got my fingers as clean as possible. Or you could watch them in between if you want to, starting at the light color again. And now you can see you get this nice smooth blend. That's the nice thing about the stealth layer on layer. And the more layers she pulled on it, that nicer and smoother, you get the transition Day. And I'm moving towards that. But I'm not going to go all the way to the moon so that I get still this white. Well, in this, in this case, the paper color. If your paper is white, then you get the nice wife. Alright, let's do the next layer and smooth that out. And now we're getting there. As you can see, this is looking really nice. Now I need to apply a lot less pressure than in the previous ones. Let's go for this one to here and do that one. And let's pick that up too. Alright, smooth that edge a little bit. And now you can see this is looking really nice. Let me do this. Ultramarine color. Landed him. Just making sure I'm not touching this dark part yet. So I'm going a bit around the edge and now I'm gonna go closer to the dark part and mix that in two. Alright? And if you need to take breaks inbetween because this is getting tired, then just do that, of course. And I'm gonna move this. Now. This is not perfect and this is not perfect. That's okay because we are going to use some different colors there. Alright, to get a nice interesting thing. And now I'm going to blend this collar and do that as well as possible. That might meet another layer, perhaps, maybe not. And blends in Scholar. And look at that. That looks good, doesn't it? Alright, and that's if, that's not if we're going to go. And what you can see on purpose and now blending in that dark color, pushing it towards the other colors so that it goes into the paper a little bit more, giving the same here. So I get rid of these light colors and bit here. Alright. Now what I'm going to do here, Let's see. I'm gonna do here some more dark. Just a bit around that edge. Going to do the same here two, not there but not totally happy here. And surround that edge. And I want the scholar to be a bit stronger. That is this color. Alright, that's good. Clean my finger. I'm going to start with that column. Yes, that sits and download that callback gets really some good attention. Alright. And I'm going to blended in with this. And that's moving that dark color up there a little bit too. All right. And now I'm just going to flatten this out a little bit. Smudge yet. And that's it's not so good. Now my finger is pretty dirty. So I'm moving that color into the other one. And now it looks pretty cool, doesn't it? To some stripes here I don't want to have. So let me move them away. A bit of a circular motion. Get more color right there. Alright, and that's it. Now, this edge we're going to work on in the next video. For now. This is looking good. Move that dark color a little bit closer here again. Smush it in a little bit. And that's it. Nice terabits. That's it. Good. We'll leave it like that. It looks really nice, doesn't? It looks like a moon shining and then transitioning slowly into a dark background. Alright, that's it for this video, I would say go ahead and create that, make it as smooth as possible. And then I'll see you on. So I do this little widths. The dark there. That's good. I'll see you in the next video. 7. Coloring the outer space edges: Well, welcome this edge. Now, this edge we're going to bring in some black. But as you seen, probably if the black here already black is quite strong. So I'm just gonna put it rounded edge. And so following the contour bit of moons or making a slight circular motion, and that's it. And I'm going to go right away. Smudge dead end. That's got to be really dark. But I'm gonna just blend it in. And the further I go with my blends into the other color, the nicer your transition gets, as you can see here. Right now, my fingers black, so I'm going to put some there, but be careful there isn't strong edge there of the tear, the paper that I did tariff previously. Alright, and that's it. That's good. Transition this a little bit more black hair and poster black thing. I'm gonna go put little bit here. And in this edge too. And around there a little bit. And I'm going to blend this in a little bit neater, clean thing for this one. Otherwise, it will go really, really black day eager. Now a hint of glycogen, a hint of black and our market that dirty fingers again. And that is really nice. And if you think your blackish too strong and what you can do, you just take the blue again. And right there, I'm gonna make one edge. And with that same dirty fingers, I'm going to blend that blew in which and see, can you push that Black away again and turn it into blue Diigo? And I'm not going go here with my black finger. I don't want that around here. I want to keep that around their Degas. Now. That is nice now. Good and others for that, especially finishing off. So that looks good and we'll take a clean fingers and blend this in a little bit more. And there you go. Now that the skirts, okay, I gotta clean my fingers and definitely I need a clean tower. And while I'm cleaning my fingers, you can start working on this and I'll see you in the next video. 8. Adding subtle color effects: What we're gonna do, we're gonna work a little bit on these edges. And this is pretty darker gold leaf that dark up there. But I want some different colors here. And I'm going to do, I'm going to bring in some red, a red and a green light green. And that looks pretty nice. I've got a permanent green lights and I've got a red, some rats, Permanent red line now the Permanent red, I'm gonna do a little bit. I wanted on this edge, it's a bit of a cloud and I want that on this edge just a little bit. And that green, I want to go create a little bit of an interesting space cloud, greenish there. And let me start with the red soft under the red down here. As you can see that you should be able to see that I'm kind of just blend that coloring a little bit like this. And do that here to this will be a bit stronger color now, just create slightly different tone. I'm going to put some more red on this right away. Get rid of that dark color on my fingers. And push that read in right away just to get a slightly different tone. That looks nice. Okay, now we're gonna work with the green, a little bit of a halo effect. I'm taking a different finger from this day. When I'm pushing that green and I got put up my sleeves, I won't touch my drawing and day. And now you get a nice different color blends in its, which makes this side also a bit more interesting. And I'm definitely not going to go and do more of this. That is good. Alright. We'll leave it like this up. We're just going to have to do the finishing touches. So you could do if you wanted to more green, if you want to have a really strong green, I'm keeping it a bit subtle. So do it as you like. If you wanted to have stronger college, you could bring in some yellow, orange here too, if you want to get stronger and but I'm gonna leave it like this for now. Okay. That's it. I'll see you in the last figure in a minute. What we're going to just do the finishing touches. 9. Adding stars and the finishing touches: Welcome back to the last part. We're going to do the finishing touches. Now. Finishing touches, I'm gonna do with a white child pen, a cowboy tallow from stub below, right? Pasta. You can use a white pastel. You can use what they call white charcoal or those pretty much the same. You can use a gel pen if you wanted for this or some of the acrylic paint pens, that would work too. But I'm going to use this color. You could also just use your white pastel, but then you need to make sure you use the edge. But we'll use this pencil or we're gonna, we're gonna add stars and minus a little bit blunt. And that is on purpose, needs to be clean, slightly bland. And I'm gonna do is put it up right? And press it in like that. And precedent turn a little bit and it makes these nice star c. And that's the whole idea. Once one starts with it. Shining stars. And the nice thing about pastel instead it covers now you could do, if you do it with gel pen, then you just probably don't even need to press. And once in a while I'm just cleaning it if I go to a lighter color. Now the effect won't be as strong in the light, cause as you can see, I'm make a little bit of a cluster there. And I'm gonna go some here. And that is the finishing touch. And the darker Of course, this gets, the more, the stronger this effect will be. If you use a sharp point for this, you can imagine what will happen by pressing it. It will break right away and then you would need to do it on its side. More like that. But that doesn't give pretty much the same effect. So how about that? I think that looks pretty nice, doesn't it? Just few more, few fake ones. And if you have some of these dark spots you don't like, you can put over this wide. Even there a little bit. There you go. Alright, I think I'll leave it at this. Missed some error. Kinda a little bit and put a bit more white. And now some small fainter ones. So I'm not pressing that much anymore. And I do think that looks pretty nice. Ok. And albeit depending on your paper, I'm not sure if you get exactly the same effect. You might get something depending on your paper, slightly more looking like this. But you should get pretty close. And that said, that will be our shining moon. And as you can see, I use, make use of the White Paper. Of the paper, what you could do in theory, I watch you if you don't have white paper, you could of course, use the pencil or your whites carbon. And as I do here now, get some of them white coloring. But make sure you clean it once in a while. You could do that too. I would not smudge this with my finger, most likely. Because this is where you use a pencil and blends out pretty much anyway. Pit on there. Okay, and that's it. You could do that. And if I will use the white of this one, make sure it's clean. That would be even stronger than that. Can see you get a nice wide. I'm still gonna make use of that paper a little bit, unlike the yellowish color around it. So if you don't have the paper color you like, you could solve it this way. You might go have to do a couple of layers, but there you go, that's it. Let's get my pink very carefully. So much that in just a very little bit. Hardly touching at all. Right. That would be my finishing touch. And once it a little bit strong there. Okay, that's nice. Alright, so you could do that too if your paper isn't the colour you like. Or even if you have very dark paper than you could bring in that wide like that. Okay? And that will be basically, basically, there will be this class that will be all. Yes, you could go with fewer or more layers depending on the paper you have if you wanted to. But I'm pretty happy with densities. And some of the paper is still at the moon is coming through, that is on purpose. So you get a little bit of the effect of the shine some dark. You get the idea of the Moon, and you get the idea of the moon in space and get a nice transition from a few colors. Okay, if you don't have the same colors as me, you pretty much use any other cows bluish go from a light. If you have a nice range of blue, you could go from a really light to go into a darker, darker color and then not get this greenish effect. But that depends on how you want to do it. Alright, I'm going to stop here. Last video we'll do is we'll talk about a project. And then pretty much this class is done. 10. The Class Project: Well, welcome to this last video. We're talking about the projects. Now, as you can imagine what the project will be, his basically create this scene yourself. And you can play a little bit with the colors. Of course, you can pick different colors. You can go from a very light blue to dark blue. Your conviction, as I've done some green, you could mix in some yellow if you wanted to, depending on the paper color. What you could also do around the moon if you have not white paper, but a tent-like IF or even a different tenor, darker tend. You could go around the moon, do it white first, and then build up the moon and then all the transitions. You go ahead and do that. Yeah, but create this project. Create a moon with a nice blend transition going from very light to very dark, bringing some of the stars. If you have a pencil, pastel pencil, use that one. If you don't have it, you could do the gel pen that would work too, would be just a little bit finer than this, but they would be really bright too. But I'll leave that up to you. Thank you for being with me in this art class. I really enjoyed doing this. And I'm looking forward to the project. You will create posters in the project section so that I can see it and others too. And then we can enjoy your work with soft pastel ordered pastel pencils. And because they're just fun to work with. So looking forward to what you will create.